False Landscapes




in which the real and virtualized landscape appears as a metaphor of the transitory, position of the individual [in relation to] in the complex changing process of nature and society.
At the same time, the landscape - even though in each case specific - represents the universally eternal.
The landscape, if regarded as an integrational factor, can refer to an existing ideology. The landscape, if associated with a state of mind, can be viewed aestetically. The landscape can remind one of the controversal realtionship between the laws of nature and the expansion of thecnology. False Landscapes / energy resources of a view / the politics of a view Conceptual activities according to the:
> principals of the natural surroundings.
> principals of the spiritual world.
> principals of the technified world.
> principals of the informatized world.

The necessity of orientation in relation to an existing horizon is defined through the use of the "False Landscape-Generating Device". In contrast to the Device's technical means, the work of art concerning horizons originates only from the viewer's personal experience and imagination.

Exhibition of False Landscapes at the Goethe Institute in Budapest (May 1999) [text in German]:

The photographic leitmotiv of this project was made by Martina Panzner.
Video-works / Digital engineering Norbert Lipps [MOVIE / 3 x 3: 36 / LOOPED]




FALSE LANDSCAPES by Laszlo Kerekes / - Slices of the Network


> Connotative experiments using the interactivity of object and space


(1. Photography in daylight; 2. Photography using the infrared nightscope apparatus)

Awareness of the existence of False Landscapes leads back to the first visual memories of my childhood. I was born in Vojvodina / Vajdaság, in the northeastern province of Yugoslavia. The horizon of the farmlands appears there just like the horizon at sea. It is the spiritual visualization of that region's characteristic flatlands that forms the compatible prototype of these, in themselves independent, originals. These originals can, then, be universally and almost globally identified as "false landscapes."


> The ecotone of the creative act: I am deeply moved as I stand at the intersection of the balance of the body shape and that of the landscape, in the process of observing and documenting, creating situations in which the forces of nature confront the signals of society and of the times.

The False Landscapes cannot be solely identified as self-resembling "geographical realities" since they exist everywhere. Everywhere I feel I recognize them in the process of searching for freedom in myself.


> The logic of perception

In developing this project, Caspar David Friedrich's (1774 -1840) well-known motive of painting served as a conceptual stimulus while I was being photographed in front of the (false) landscapes. My tools are minimal and terse: just like those of advertisements. The pictures represent similar or different relationships. In them, nature is an allegorical metalanguage and symbol at the same time, while the "landscape" itself appears as the projection screen of yearning for the transcendental. The display of the change of seasons is not meant to show the passage of time. Cyclical change refers to evanescence. The False Landscapes are ideas that transmit specific codes and, at the same time, they pin down the topography of a globally functioning spiritual experience of mutual impact.

> The objective of this expanding work is the analytical treatment of the globally valid dimensions and intellectual linkages of a specific local landscape motive.


Concentration on the essence

> also on that which is stratified under the surface of the Earth


A new approach to the myth of landscape

> by the reduction of the aesthetic and graphic illusion of the metaphysical component

> by the reconfiguration without formal change and by the navigational iteration of archetypes living in the mind

Perception of the landscape as a factor of integration

> Marking the artist('s figure) in the landscape means the notation of the mediating position of the code:


Virtualisation of the landscape in external and internal worlds

Europe > Integration of historical and projected objects with real landscapes

> Development of futuristic scenarios independent of the present

United States > Development of future scenarios building on the present

> Development of fictive scenarios building present and future